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In the Land of the Deaf – a film by Nicolas Philibert, director of ‘Etre et avoir (Q&A with Andy Townsend of distributor Second Run DVD)

Tuesday, February 27, 2007 at 7:30 PM (GMT)

London, Greater London

Ticket Information

Ticket Type Sales End Price Fee Quantity
Standard Ended £5.00 £0.00
Concession Ended £4.00 £0.00

Event Details

Golden Globe, San Francisco International Film Festival 1994 Golden Conch Best Non-Fiction Film, Bombay International Documentary Film Festival 1994 Peabody Award 1998 1992 Entrevues Film Festival Won Grand Prix French Film and 1992 Grand-Prix du Festival de Belfort (France) 1992 Grand-Prix du Festival dei Popoli (Florence, Italie) 1993 Grand-Prix du Festival de Vancouver (Canada) 1993 Prix « Tiempo de Historia », Festival de Valladolid (Espagne) 1993 Prix Humanum, décerné par l’Association de la Presse Cinématographique de Belgique 1994 Prix du meilleur documentaire, Festival de Potsdam (Allemagne) The films and methods of Nicolas Philibert, maker of Etre et avoir, have shown him to be one of contemporary cinema’s most acclaimed documentarists. In The Land of the Deaf is an elegantly spare and thoughtful portrait of the rich, diverse, but often isolated culture of the deaf community. The film has tremendous power and value: it educates and transports us to another way of occupying this world, and it does so in a pleasurable, unrushed and intelligent fashion. Washington Post Review by Richard Harrington ‘Nicholas Philibert's award-winning French documentary "In the Land of the Deaf" does much to dissolve borders of ignorance that keep the hearing from appreciating the culture and the language of a constituency (130 million strong worldwide) that might be more easily recognized if it were ethnically or racially defined, or perhaps had its own cuisine. But this sensitive documentary makes it clear that the deaf are, in all but one sense, no different from any other group, embracing the same range of personalities, sharing the same dreams, experiencing the same emotions. Like any group with a crucial commonality, the deaf are also unique. Philibert approaches their world in a surprisingly sensible manner, letting his subjects sign for themselves. There is no intrusive narration and no heavy-handed polemic, just the observed expression of children learning to speak, a young couple getting married and a marvelous teacher of sign language with time and memories on his hands. Jean-Claude Poulain, who teaches sign language to hearing adults, provides both historical context and insights into complexities of deaf culture. The fiftyish Poulain recalls that when he was a child, his hands were tied behind his back in an effort to make him talk; now Poulain is a quiet crusader in the deaf-rights movement, pushing for bilingual education (French/sign). Blessed with a poignant Jacques Tati face that reflects immense passion and pathos, Poulain is a story-signer of the highest order. At one point, referring to his hearing daughter, he confesses, "I had dreamt of having a deaf child -- communication would be easier. But I love her all the same." Offhanded but revealing, that twist is repeated later when a young man in a bar signs family history, noting that he comes from five deaf generations that have included the occasional hearing child ("poor thing"). The more common situation of deaf children born into hearing families is revealed in the recollections of several college-age kids who grew up feeling excluded. But Philibert (who is not deaf) is not out to demonize the hearing. The only villain here is ignorance. Philibert suggests the complexities of both emotions and politics in the world of the deaf, and some of the film's most poignant moments capture the interaction of teachers and youngsters struggling patiently to create public sound out of private silence. All the kids are engaging, but one in particular, 6-year-old Florent, is a genuine heartbreaker. Blessed with huge, inquisitive eyes, Florent is first seen struggling with a tear-drenched writing assignment; at film's end, though, he's revealed as a playful, loving and loudly mischievous child, dealing with his condition, not burdened by it. "I look so I can hear," Florent explains, and you understand why he's been blessed with those eyes. The importance of sight and sightlines is apparent. After all, sign language is a matter of hand-eye cooperation. Every gesture tells a story, and Philibert captures the rush of signs, the liquid loquaciousness of chattering hands, the body French of subjects whose mode of expression is as varied, lively, intense, rich and witty as any with sound attached. And, Poulain explains, there's a practical edge to consider: There may be different dialects of sign language around the world -- he signs specific examples -- but common grounds allow for quicker communion than might be possible for the hearing, with their disparate languages. In this documentary, there is sign language, spoken French and English subtitles that cover the first two elements. And gradually, it is the sign language that comes to seem clearest, demystified by Philibert's respectful attention and empathy. There's one other charming tableau involving a young deaf couple, Hubert and Marie-Helene (95 percent of the deaf marry within the culture). Philibert captures their wedding, where natural nervousness is heightened by the challenge of an essentially literary ritual, and later includes their apartment search (made difficult because of intense communication problems with a landlord) and the arrival of a baby. But the traditions and centeredness of the deaf community are most apparent in a scene from the wedding party, which includes both deaf and hearing folk, and features loud music and dancing. At one point the music stops, but Hubert and Marie-Helene keep on dancing, secure in themselves and their silent world. 'In the Land of the Deaf' is not rated and doesn't need to be.’ “ A brilliantly perceptive view of deaf peoples lives” - The Daily Telegraph “ Must not be missed” Le Point “ Go see this film... thrilling” - Le Figaro Director: Nicolas Philibert Year of Production: 1992 Running Time: 99 mins Country of Production: France